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155Booklet 8/5/09 11:07 Page 1 ALSO AVAILABLE on signumclassics On Wenlock Edge Britten Abroad Andrew Kennedy Susan Gritton, Mark Padmore and Iain Burnside SIGCD112 SIGCD122 Rising tenor star Andrew Kennedy is joined by the award-winning Benjamin Britten’s legacy of songwriting stretches far beyond the Dante Quartet and pianist Simon Crawford-Phillips to perform a shores of his native England - these exquisite settings of a wide quintessentially English collection of songs, spanning three centuries array of European poetry are amongst the most distinctive and of composition: from Vaughan Williams’s beautifully lyrical and finest examples of his art, each written specifically for a much- nostalgic On Wenlock Edge, and Ivor Gurney’s Ludlow and Teme to loved and favoured artist. 21st century settings from one of the finest modern song composers, Ian Venables. “5 stars *****... a powerfully eloquent performance ...” The Guardian “Kennedy has a big, bright, expressive tenor voice and uses it with fervour, delicacy and imagination ... A thoughtfully realised recital” “5 stars ***** flawless music-making of the first order” The Independent on Sunday BBC Music Magazine Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 155Booklet 8/5/09 11:07 Page 3 LISZT ABROAD Liszt Abroad nineteenth century song. He composed songs in no less than six different languages: French, German, I have latterly travelled through many new Italian, English, Russian and Hungarian. This 1. Oh! Quand je dors [4.32] countries, have seen many different places, and Francophone Magyar embodied the Euro-citizen, 2. Enfant, si j’étais roi [3.02] visited many a spot hallowed by history and travelling extraordinary distances as a young 3. Gastibelza [7.34] poetry; I have felt that the varied aspects of virtuoso in those années de pélérinage, before 4. Comment, disaient-ils [1.52] nature, and the different incidents associated putting down roots first in Paris, then Weimar and 5. Im Rhein, im schönen Strome [2.56] with them, did not pass before my eyes like eventually Rome. All these cultures played a part 6. Die Loreley [6.49] meaningless pictures, but that they evoked in Liszt’s life. Russia represented an uncomfortable 7. Die Vätergruft [6.04] profound emotions within my soul … I have tried element in Weimar through tortured, tangled 8. Petrarch Sonnet No. 104: Pace non trovo [6.40] to give musical utterance to some of my strongest negotiations over the eastern estates of his lover, 9. Petrarch Sonnet No. 47: Benedetto sia ‘l giorno [6.11] sensations, some of my liveliest impressions. the Princess Sayn-Wittgenstein; while Britain had 10. Petrarch Sonnet No. 123: I’ vidi in terra angelici [6.08] a walk-on cameo role through the Princess’s 11. Go not, happy day [3.30] Franz Liszt, from Preface to Suisse, Années de former governess and treasured family retainer, 12. Gebet [3.16] Pélérinage Janet ‘Scotchy’ Anderson. One more European 13. Isten veled! [3.13] flavour enhances this disc. While Liszt does not 14. Morgens steh ich auf und frage [2.06] How could Liszt not write wonderful songs? set the Spanish language, the Gothic horror that is Consider his credentials: one of the greatest Gastibelza takes us to Spain. The only piece I can 15. Ein Fichtenbaum steht einsam [2.30] pianists in history; champion and imaginative think of that is simultaneously Mad Song and 16. Du bist wie eine Blume [2.26] transcriber of songs by Schubert, Schumann and Bolero, Gastibelza abounds in flamboyant local 17. Wie singt die Lerche schön [2.08] Chopin; conductor of operas by Mozart, Gluck, colour, complemented by the bracing Spanish 18. Blume und Duft [2.24] Beethoven, Donizetti, Verdi, Meyerbeer and Berlioz; guitars of Comment, disaient-ils. 19. Und wir dachten der Toten [2.13] oh, and of course, Wagner’s father-in-law. With 20. Über allen Gipfeln ist Ruh [3.55] voice and piano woven into the fabric of his life, Liszt’s Euro-citizenship had a flipside. Nowhere Liszt’s songs were destined to be special. was he a musical native. He stood outside the Total Timings [79.32] worlds both of French mélodie and German Lieder. As well as offering a personal selection of Liszt His freshness and originality, the very qualities we Rebecca Evans soprano • Andrew Kennedy tenor songs this recording has another agenda: to now find so appealing in both spheres, were not Matthew Rose baritone Iain Burnside piano • spotlight Liszt’s uniquely polyglot position in embraced with enthusiasm by his contemporaries. www.signumrecords.com - 3 - 155Booklet 8/5/09 11:07 Page 5 German critics, Robert and Clara Schumann narrower in range. At the same time, his harmony ihrem Singen/Die Lorelei getan, the song ends. and musical health, so too was their music. And among them, took particular issue with the lack of becomes more daring. The bleak, visionary And that’s what, with her singing/Was done by while father-in-law was always generous in unity in his Lieder, singling out an unhealthy fragment Und wir dachten an die Toten belongs in Lorelei. Liszt breaks into eight phrases what he acknowledging his debt to son-in-law, the tendency to develop, rather than stick to a single the twentieth century; as in a quite different way could easily have set in one, shifting in the converse was not always true. Perhaps this final mood. Ironically one could wish for no better does the cheeky major ninth arpeggio, offbeat and process the song’s emphasis. She did it. She did track can shed its own gentle light on that most summary of why Liszt’s Heine settings move unresolved, that greets the morning sun in Wie it with her singing. With her singing! So Heine’s intriguing musical connection. forward from Schumann’s. As so often in Liszt’s singt die Lerche schön. cautionary tale of threatening female sexuality career, he was not thanked for blazing a trail. becomes Liszt’s parable on the power of music. His Iain Burnside Despite the decades and the vast stylistic chasm one and only English song, Tennyson’s Go not, The music on this disc spans over four decades. between them, early and late songs share certain happy day moves in the opposite direction. Three The earliest songs are among the most remarkable. characteristics. Liszt the orchestral conductor times over, with music endlessly teased out, we Liszt was only in his twenties when he chose knew the power of recitative. In almost every song hear that a rose is her mouth. Liszt uses heavily three sonnets by Petrarch, propelled by their here the main action stops, for voice and piano to sexual silences, refusing to cadence, to resolve, to poetic complexity into a new musical language, a break off into a different mode of conversation. At settle. Did Tennyson have any idea of the erotic cross-pollination of Italianate operatic vocal the end of Im Rhein the camera pans away from potential in his last line? Let us hope Liszt never writing and virtuoso pianism. Liszt here moves the river, moving into close-up on the singer, played this song for ‘Scotchy’ Anderson. beyond the confines of the salon, demanding absorbed in thoughts of his lover. The song is from each performer a more heightened level of indeed not unified - that is entirely the point. It is I have chosen to end our CD not with the latest projection, a bigger range and sound palette, than imaginative. This recitative effect finds its song chronologically - Und wir dachten an der any song composer had demanded before. And apotheosis in Die Loreley. Liszt is masterly in Toten claims that honour - but with the most yet the end of the third sonnet leaves us con intimo setting up his time frame for Heine’s story, again Wagnerian. There must be a way of superimposing sentimento, with singer and pianist barely whispering. prematurely cinematic in invoking both present onto Über allen Gipfeln ist Ruh the Prelude to and past. After Heine’s boat has hit the rocks in Wagner’s Parsifal. Liszt’s opening sequence of Most of our music was written in the following full chromatic splendour, it takes a single phrase sublime common chords has always evoked to me decade. The 1840s saw the Victor Hugo songs, from the singer, one rolled secco piano chord, to the Quest for the Grail.Yet the dates are totally inspired by Marie d’Agoult, and most of the turn back the years. wrong: Liszt wrote his song in 1848, nearly thirty Heinrich Heine settings, hot on Schumann’s heels. years before Wagner put pen to manuscript paper. With the passing of time Liszt’s music becomes Loreley shows another of Liszt’s favourite gestures: Just as the lives of these two great men were more ascetic; his textures sparer; his vocal writing repetitions of his own devising. Und das hat mit entangled, for richer or poorer, in musical sickness - 4 - - 5 - 155Booklet 8/5/09 11:07 Page 7 TEXTS Translations © Uri Liebrecht - www.uritext.co.uk Si j’étais Dieu, la terre et l’air avec les ondes, If I were God, the earth I’d give, the sea, Les anges, les démons courbés devant ma loi, The angels, demons subject to my law, 1. Oh! Quand je dors Oh, Whilst I sleep Et le profond chaos aux entrailles fécondes, Chaos, multiplying ever more, L’éternité, l’espace et les cieux et les mondes, Space, eternity, the heavens would stand in awe, Oh! quand je dors, viens auprès de ma couche, Whilst I sleep, O, come by my bed Pour un baiser de toi.